Demskoi Dmitry V.( Artist)
Comments for Demskoi Dmitry V.
Biography Demskoi Dmitry V.
1989 Graduated from the Moscow Art Theater School (Producer's Department)
. 1989 member of the Municipal Committee of graphs
. since 1989 member of the International Federation of Artists (IFA)
. Collections where works
. Collection of Contemporary Art State Museum Tsaritsino, Moscow
. Bank "Siberian", Moscow
. Private collections in Switzerland, Holland, Germany, Spain
. Participation in exhibitions and auctions
. SOLO EXHIBITIONS
. 1993 "Without title"
. 4000 volt ex. sp., Kassel, Germany
1994 "Newspapers". "Wilhelmina", Circ atelier, Amsterdam, Netherlands
1989 "Young Soviet Painters". Beijing, China Furmanny Zaulek. Dawne Zaklady Norblina, Warsaw, Poland
1990 "The logic of paradox". Palace of Youth, Moscow "Furmanyj in Factory: Sovietische Avantgarde Kunst". Kulturfabrik Salzmann, Kassel, Germany
ART MIF 1. Central House of Artists, Moscow
1991 "Peso y Locura". Fernando Duran Gallery, Madrid, Spain
"Private Lessons". Exhibition Hall Solyanka, Moscow
"In Vacio / In Emptiness". Auditorio de Galicia, Santiago de Compostela, Spain
"Novecento". L gallery. Central House of Artists, Moscow
"V izbach". Dom kultury, Bratislava, Slovakia
1992 "Moscow Romanticism". Central House of Artists, Moscow
"Triade". Grassi Museum, Leipzig, Germany
1993 "Shop". Shop "Constantine". Olympic Complex, Moscow
"Three Generations". Moscow Fine Arts Gallery, Moscow
1995 "Kunst im verborgenen. Nonkonformisten Russland 1957-1995 ". Collection of Contemporary Art Museum Tsaritsino ". Wilhelm-Hack Museum, Ludwigshafen am Rhein; Documenta-Halle, Kassel; Staatliches Lindenau Museum, Altenburg, Germany
"Configura 2". Dialog der Kulturen. Erfurt, Germany
1995 "Kunst im verborgenen. Nonkonformisten Russland 1957-1995 "(from the collection of the Museum of Modern Art Tsaritsino). Wilchelm-Hack Museum, Ludwigshafen am Rhein; Documenta-Halle, Kassel; Staatliches Lindenau Museum, Altenburg, Germany
"Configura 2". Dialog der Kulturen. Erfurt, Germany
1996 "Proportional unequal". Academic Society. Eindhoven, The Netherlands
"Atelier". University exibition hall, Amsterdam, The Netherlands
Demsky, in 1989, graduated from the Moscow Art Theater School, preparing the theater artists. Work same - as a free artist - began in the studio, located in one of the abandoned apartments Furmanny alley, which in the years perestoyki became a hotbed of radical art. The first fact of his biography suggests, . that the very professional training has fostered in the artist a certain approach to reality, . particularly, . distrust of self-worth used mateariala, . attitude toward him as a sort props, . hollow nature of which implies a completely legitimate and its subordination to the will of the author,
. Second - that being in an environment steeped in the ideology of conceptualism, not only strengthened still faltering preferences of the young author, but also gave them a more fundamental kulturfilosofskoe justification.
. What are the main group of works by DemskogoN monochrome canvases, which are planted under the various objects of the eye only "shadow" of its volume, kk to his painting projection
. A series of natural frame, within which, besides emptiness, lies a copy of their picturesque. The most recent works - with mirrors, glasses and masks, which with varying degrees of materiality can only double the face of the viewer look at them. Finally, the graphic sheet, where all the elements of the image registered words (cloud "drawn" with the word "cloud", the sea, the word "sea"), not only verbalized visual as it tavtologiziruyuschimi that make literal.
. Every time hollow "source of artistic creation" is clearly a gaping through a rare pattern of visual forms
. Every time a real deployment, movable author will not reach the maximum, starting to fade, where forms are just beginning to acquire the materiality. And the art will so firmly connected with the memory of its origin, that can not return to its beginning, every time heaping creativity in the original void, making it discrete, depriving fusion and visual logic.
. In this sense, every work Demskoi the configuration of the entire creative process, it becomes a trace, a copy of
. And art shows itself rather than as a landmark production, but as the production of tautologies. Are produced, so to say, "poor" marks, which means almost merges with the signifier, and the whole symbolic number, because of this, as it falls inward, returning art to its empty nature.
. What is the balance after such svertyvaniyaN Rama
. And what is in this frame, in other words, that there is a symbol of inner, essentially iskusstvaN Void. And, finally, what will mark the tautological essentially smysloobrazovaniya, if not zerkaloN Void, Frame, Mirror. Or - or - the essence of art, its limits, its principle of formation. All of them are derived in the works Demskoi as quite real "actors", but which he, in fact, nothing should. No, we have forgotten about the mask, which emerged recently, as if compensating for the ascetic art tools. Mask - not a person and not the essence, but the mask. So, what is intended to conceal, disguise - chtoN likely that the art is there as pure and self-sustaining mechanism which produces a vacuum. And in addition, and give him false, phantom, but the physicality. In other words, to marry the traditional - easel (in the frame, but also on the canvas, on paper, under glass in the terminals), mimetic (mirror) - art. But if the product of mimesis here mirror-tautology, then it means that in the process of doubling the reality of art arises again something vnehudozhestvennoe, the real. Accordingly, the art is not art, but the magic of the genus.